Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.19.2"
@node Fundamental concepts
@chapter Fundamental concepts
\header @{ @}
\score @{
- @var{...compound music expression...} % all the music goes here!
+ @var{ @dots{} compound music expression @dots{} } % all the music goes here!
\layout @{ @}
\midi @{ @}
@}
For now, though, let us return to the first example and examine the
@code{\score} command, leaving the others to default.
-A @code{\score} block must always contain just one music expression,
-and this must appear immediately after the @code{\score} command.
-Remember that a music expression could be anything from a single
-note to a huge compound expression like
+A @code{\score} block must always contain exactly one music
+expression. Remember that a music expression could be anything
+from a single note to a huge compound expression like
@example
@{
\new StaffGroup <<
- @var{...insert the whole score of a Wagner opera in here...}
+ @var{ @dots{} insert the whole score of a Wagner opera in here @dots{} }
>>
@}
@end example
@noindent
-Since everything is inside @code{@{ ... @}}, it counts
+Since everything is inside @code{@{ @dots{} @}}, it counts
as one music expression.
As we saw previously, the @code{\score} block can contain other
there @emph{is} no mystery. This line explains it all:
@quotation
-@emph{A @code{\score} block must begin with a compound music expression.}
+@emph{A @code{\score} block must contain exactly one music expression.}
@end quotation
@noindent
-To understand what is meant by a music expression and a compound
+To understand what is meant by a
music expression, you may find it useful to review the tutorial,
@ref{Music expressions explained}. In that section, we saw how to
build big music expressions from small pieces -- we started from
to cultivate so that you can see at a glance what each stave is
for.
-Remember that we use @code{<< ... >>} instead of @code{@{ ... @}} to
+Remember that we use @code{<< @dots{} >>} instead of @code{@{ @dots{} @}} to
show simultaneous music. This causes the vocal part and piano part
-to appear one above the other in the score. The @code{<< ... >>}
+to appear one above the other in the score. The @code{<< @dots{} >>}
construct would not be necessary for the Singer staff in the example
above if it were going to contain only one sequential music
-expression, but @code{<< ... >>} rather than braces is necessary if
+expression, but @code{<< @dots{} >>} rather than braces is necessary if
the music in the Staff is to contain two or more simultaneous
expressions, e.g. two simultaneous Voices, or a Voice with lyrics.
We're going to have a voice with lyrics, so angle brackets are
@multitable @columnfractions .3 .7
@headitem Bracket Type
@tab Function
-@item @code{@{ .. @}}
+@item @code{@{ @dots{} @}}
@tab Encloses a sequential segment of music
-@item @code{< .. >}
+@item @code{< @dots{} >}
@tab Encloses the notes of a chord
-@item @code{<< .. >>}
+@item @code{<< @dots{} >>}
@tab Encloses simultaneous music expressions
-@item @code{( .. )}
+@item @code{( @dots{} )}
@tab Marks the start and end of a slur
-@item @code{\( .. \)}
+@item @code{\( @dots{} \)}
@tab Marks the start and end of a phrasing slur
-@item @code{[ .. ]}
+@item @code{[ @dots{} ]}
@tab Marks the start and end of a manual beam
@end multitable
To these we should add other constructs which generate lines
between or across notes: ties (marked by a tilde, @code{~}),
-tuplets written as @code{\times x/y @{..@}}, and grace notes
-written as @code{\grace@{..@}}.
+tuplets written as @code{\tuplet x/y @{ @dots{} @}}, and grace notes
+written as @code{\grace @{ @dots{} @}}.
Outside LilyPond, the conventional use of brackets requires the
-different types to be properly nested, like this, @code{<< [ @{ ( .. )
+different types to be properly nested, like this, @code{<< [ @{ ( @dots{} )
@} ] >>}, with the closing brackets being encountered in exactly the
opposite order to the opening brackets. This @strong{is} a
requirement for the three types of bracket described by the word
phrasing slur extending out of a tuplet (lines 3 and 4).
@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \times 2/3 { r16 e'8] }
-g,16( a \times 2/3 { b16 d) e }
-g,8[( a \times 2/3 { b8 d) e~] } |
-\times 4/5 { e32\( a, b d e } a4.\)
+r16[ g \tuplet 3/2 { r16 e'8] }
+g,16( a \tuplet 3/2 { b16 d) e }
+g,8[( a \tuplet 3/2 { b8 d) e~] } |
+\tuplet 5/4 { e32\( a, b d e } a4.\)
@end lilypond
@end lilypond
This can be expressed using just the single angle bracket chord
-symbols, @code{< ... >}, and for this just a single voice is
+symbols, @code{< @dots{} >}, and for this just a single voice is
needed. But suppose the F-sharp were actually an eighth-note
followed by an eighth-note G, a passing note on the way to the A?
Now we have two notes which start at the same time but have
@funindex \\
The easiest way to enter fragments with more than one voice on a
-staff is to enter each voice as a sequence (with @code{@{...@}}),
-and combine them simultaneously with angle brackets, @code{<<...>>}.
+staff is to enter each voice as a sequence (with @code{@{ @dots{} @}}),
+and combine them simultaneously with angle brackets, @code{<< @dots{} >>}.
The fragments must also be separated with double backward slashes,
@code{\\}, to place them in separate voices. Without these, the
notes would be entered into a single voice, which would usually
c16 d e f
% Voice "1" Voice "2" Voice "3"
<< { g4 f e } \\ { r8 e4 d c8~ } >> |
- << { d2 e } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b c2 } >> |
+ << { d2 e } \\ { c8 b16 a b8 g~ 2 } \\ { s4 b c2 } >> |
}
@end lilypond
These voices are all separate from the main voice that contains
-the notes just outside the @code{<< .. >>} construct. Let's call
+the notes just outside the @code{<< @dots{} >>} construct. Let's call
this the @emph{simultaneous construct}. Slurs and ties may only
connect notes within the same voice, so slurs and ties cannot go
into or out of a simultaneous construct. Conversely,
{ d2 e }
\\
% Voice 2 continues
- { c8 b16 a b8 g~ g2 }
+ { c8 b16 a b8 g~ 2 }
\\
{
\voiceThreeStyle
We shall see later how commands like these may be created by the
user.
See @ref{Visibility and color of objects} and
-@ref{Using variables for tweaks}.
+@ref{Using variables for layout adjustments}.
@cindex polyphony and relative note entry
@cindex relative note entry and polyphony
command at the start of each voice:
@example
-\relative c' @{ noteA ... @}
+\relative c' @{ noteA @dots{} @}
<<
- \relative c'' @{ < noteB noteC > ... @}
+ \relative c'' @{ < noteB noteC > @dots{} @}
\\
- \relative g' @{ noteD ... @}
+ \relative g' @{ noteD @dots{} @}
>>
-\relative c' @{ noteE ... @}
+\relative c' @{ noteE @dots{} @}
@end example
Let us finally analyze the voices in a more complex piece of music.
@lilypond[quote,ragged-right,verbatim]
\relative c' {
% Default behavior or behavior after \oneVoice
- c4 d8~ d e4( f | g4 a) b-> c |
+ c4 d8~ 8 e4( f | g4 a) b-> c |
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
\relative c' {
\voiceOne
- c4 d8~ d e4( f | g4 a) b-> c |
+ c4 d8~ 8 e4( f | g4 a) b-> c |
\oneVoice
- c,4 d8~ d e4( f | g4 a) b-> c |
+ c,4 d8~ 8 e4( f | g4 a) b-> c |
}
@end lilypond
@lilypond[quote,ragged-right,verbatim]
\relative c' {
\voiceTwo
- c4 d8~ d e4( f | g4 a) b-> c |
+ c4 d8~ 8 e4( f | g4 a) b-> c |
\oneVoice
- c,4 d8~ d e4( f | g4 a) b-> c |
+ c,4 d8~ 8 e4( f | g4 a) b-> c |
}
@end lilypond
\new Voice {
% Set stems, etc., down
\voiceTwo
- r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+ r8 e4 d c8~ | 8 b16 a b8 g~ 2 |
}
% Initiate third voice
\new Voice {
\voiceTwo
r8 e4 d c8~ |
<<
- { c8 b16 a b8 g~ g2 | }
+ { c8 b16 a b8 g~ 2 | }
\new Voice {
\voiceThree
s4 b c2 |
\new Voice {
% Set stems, etc, down
\voiceTwo
- s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+ s4 r8 e4 d c8~ | 8 b16 a b8 g~ 2 |
}
% Initiate third voice
\new Voice {
@seealso
-Notation Reference: @ruser{Multiple voices}.
+Learning Manual:
+@ref{Moving objects}.
+
+Notation Reference:
+@ruser{Multiple voices}.
@node Voices and vocals
global = { \key f \major \time 6/8 \partial 8 }
SopOneMusic = \relative c'' {
- c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ c4
+ c8 | c8([ bes)] a a([ g)] f | f'4. b, | c4.~ 4
}
SopOneLyrics = \lyricmode {
Let | flee -- cy flocks the | hills a -- dorn, __
@tab Engraves clefs
@item Completion_heads_engraver
@tab Splits notes which cross bar lines
-@c The old Dynamic_engraver is deprecated. -jm
-@item New_dynamic_engraver
+@item Dynamic_engraver
@tab Creates hairpins and dynamic texts
@item Forbid_line_break_engraver
@tab Prevents line breaks if a musical element is still active
>>
@end lilypond
-As another example, if @code{clefOctavation} is set in
+As another example, if @code{clefTransposition} is set in
the @code{Score} context this immediately changes the value
-of the octavation in all current staves and sets a new default
+of the transposition in all current staves and sets a new default
value which will be applied to all staves.
The opposite command, @code{\unset}, effectively removes the
context is created. Sometimes this is a clearer way of setting a
property value if it is to remain fixed for the duration of
the context. When a context is created with a @code{\new}
-command it may be followed immediately by a @code{\with @{ .. @}}
+command it may be followed immediately by a @code{\with @{ @dots{} @}}
block in which the default property values are set. For example,
if we wish to suppress the printing of extra naturals for the
duration of a staff we would write:
@code{\context} block within a @code{\layout} block. Each
@code{\context} block will affect all contexts of the type specified
throughout the @code{\score} or @code{\book} block in which the
-@code{\layout} block appears. Here is a example to show the format:
+@code{\layout} block appears. Here is an example to show the format:
@lilypond[verbatim,quote]
\score {
}
@end lilypond
-None of the templates provides this layout exactly. The nearest is
+@warning{This layout can be achieved very easily using the built-in
+template: @code{satb.ly}, see @ref{Built-in templates}. But for ease
+of use this template deliberately hides the necessary context
+structure, instead providing it automatically. So for purposes of
+learning let us see how to build this up from scratch. You may need
+to do this if the built-in template does not meet your needs
+adequately.}
+
+The nearest copy-and-edit template to this layout is
@ref{SATB vocal score and automatic piano reduction} -- but we need
to change the layout and add a piano
accompaniment which is not derived automatically from the vocal parts.
@end example
It is not necessary to use the simultaneous construct
-@code{<< .. >>} for the manual two staff and the pedal organ staff,
+@code{<< @dots{} >>} for the manual two staff and the pedal organ staff,
since they contain only one music expression, but it does no harm,
and always using angle brackets after @code{\new Staff} is a good
habit to cultivate in case there are multiple voices. The opposite
is true for Voices: these should habitually be followed by braces
-@code{@{ .. @}} in case your music is coded in several variables
+@code{@{ @dots{} @}} in case your music is coded in several variables
which need to run consecutively.
Let's add this structure to the score block, and adjust the indenting.
d2 c |
}
ManualOneVoiceTwoMusic = \relative c' {
- ees16 d ees8~ ees16 f ees d c8 d~ d c~ |
- c8 c4 b8 c8. g16 c b c d |
+ ees16 d ees8~ 16 f ees d c8 d~ d c~ |
+ 8 c4 b8 c8. g16 c b c d |
}
ManualTwoMusic = \relative c' {
- c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
- f16 ees f d g aes g f ees d ees8~ ees16 f ees d |
+ c16 b c8~ 16 b c g a8 g~ 16 g aes ees |
+ f16 ees f d g aes g f ees d ees8~ 16 f ees d |
}
PedalOrganMusic = \relative c {
- r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
+ r8 c16 d ees d ees8~ 16 a, b g c b c8 |
r16 g ees f g f g8 c,2 |
}
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